Dissonance Dance Theatre

July 5th, 2010 – This past July I embarked on a nervous but wonderful journey to meet the man who’s books on the Vaganova Method I had read about a year ago.  I saved my money to attend John White’s Classical Ballet Vaganonva Teacher’s Seminar.

I wanted to expand my understanding of Russian Pedagogy and I can honestly say I was not ready for what I got myself into lol.

The  trip up to Philly was easy and quick.

Bryn Mawr is a beautiful small campus.

It didn’t dawn on me that it was a Woman’s College till I saw the sign above my head.

The room was nice and quaint…they even gave you towel! I was the first one there so I got hit with all of the issues.

Shawn and KB

Shawn and Nan

The seminar was a shock to the brain at first but after wonderful talks with Nan, Ron, KB, Ryan, Rebbecca, and Denise it started to sink in and I realized that I wasn’t the only one…lol.

The food was okay and conversation around the table were always a treat tobe waiting for.  Pennsylvania Academy of Ballet (PAB) was a nice space. I got a chance to meet Margarita De Saa-White ( One of Nacional de Cuba’s First Prima Ballerinas.)

There school was warm and John and Margarita’s Daughter Melinda was a joy to work with during the process of getting to and from the trip.

Sitting in class sometimes was funny especially during the duels between Linda and Ron for Mr. White’s attention to a question. Loved it lol.

I was soooooo excited when I finished the week. It was long and I learned a lot in regard to structure of class and what planning means to a teacher. I thank you John White…reading the next book now

In June, We lost two of the DDT Family…we will miss you Katie Tuebner and Megan Shankwitz.  We welcome Jenifer Clevinger, Alexandria Franklin, Amy Scaringe and apprentices Olivia Crosby. To my veteran family of dancers..thank you for another season of  the journey.

We are embarking on a challenging year…buckle your safety belts.

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The human body is truly a wonder to behold.  With dimension and depth, the human body can achieve great wonders through a focused regiment.

As a choreographer, I’m learning that your signature process happens like a fine wine…through time and constant care to detail and environment.

To create work first started with a quick listen to music and a jotting down of  “Shawnese” scribble on a legal pad, ( Its longer and has more lines lol). Then it moved to creating a solo in silence and marrying the music later. Now, I understand why Mauro Bigonzetti and Jiri Kylian both agree and say it is the best experience to create with the dancers. The studio is sacred and must be a trusting and warm space for dancers to excel, fall, cry and find acceptance for it is there magic can transpire and manifest into memorable moments.

I’m starting to gain more understanding into my creative process with my dance sketches and works. I desire a sharp focus in the artists I call family and muses for it is the gift of their birth that allows me to push closer to my personal dance catharsis. Life is not promised nor is funding, talent or supportive audience.

Conviction I feel comes with age and understanding of the world and experiences around us. It is our ” Emotional Recall” and “Sense Memory” that makes and reminds us of the building blocks that grows our life dialogues. Dancers, like actors, must be able to be storytellers and/or smooth translators of kinetic vocabulary…with or without words.  For it is through this wonderful exchange between the dancer’s solid technique, open and focused mind that I truly believe dance transcends the conscious world.

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When I started this company, I knew it would be a great deal of work. But I didn’t know it would be also rewarding as the work manifests.

I can say I have grown tremendously over these past 3 years. I have started to see the seeding of DDT alumni through the US with artist touring due to in part to the laboratory known as DDT. That makes me feel good.

Year 4 is packed with creative programing that is wonderful and exciting! Hopefully I am blessed with artist that see the same vision of a contemporary company that will make its aura shine from Washington, DC.

Yours in Dance,

Shawn

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Year three was a tough year! My God! lol

To produce work and develop a company is an ever evolving challenge. Even more so during a recession.

The beginning of the season went smooth with our first t shirt and expanded marketing campaign. Thank god for always being open to learning. Dissonance Dance Theatre truly excelled in its marketing efforts and brought in a larger audience constituency  by the end.

We lost several dancers Salone, Alyssa, Damien and Roxie. I wish them much success in there journey of life.  Our paths will cross again.  Yet we gained Justin and Ginnie! Thanks you guys for your hard work.

Performance numbers increase from 2 to 4. with 11 dancers( 6 company members, 4 apprentices and 1 guest artist) which was a tremendous increase from previous years of 8 dancers.

Our earned income increased enough for this to be the first year we etch into the black by a few hundred dollars..whew…

Dissonance Dance Theatre embarks and successfully performance in NYC. 

I can honestly say that there isn’t no feeling that being able to say you have performed in NYC or have produced work in NYC. At least half of the mission is completed lol.  Company pulled off a great show, Jon, Nicole and Chris held it down behind the scenes and for that I am grateful.

Auditions are June 5th…here we go;)

Shawn

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I had the most wonderful pleasure to have met the first  Black male soloist to dance with American Ballet Theatre and he helped create some of the most beautiful works I have ever seen. Keith Lee of the Dance Theatre of Lynchburg, was a wonderful addition to the Dancing in the Dark Documentary about Black Concert Dance in Washington, DC.

His school amongst the “7 hills” was a treasure to behold. Wonderful students with open minds and kind hearts adorned the halls as classes and rehearsals were conducted.

Shawn Short and Keith Lee

I came away from this trip with a new found appreciation for what my elders and past black artist have done in this city.  I too will make my mark and join the ranks. Knowing this, I will create a better day for me and those with similar interests and alliance.

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It has been awhile since I have written anything in the blog. However many thing have happened. My acceptance into UWM-Milwaukee, New Partnerships, first production in NYC coming up and many more in the coming quarters.

Graduate school will be a great venture and addition to the many accomplishment I wish to strive for.

Company…I’m so proud and blessed with the ensemble I call the Dissonance Fam. They are budding performers and growing by the day. We have work really hard in our 3rd year. There has been many a challenge and disappointments, however we have accomplished each of our goals. I look forward to our May 8th production in NYC.

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As I glance around the city and read international and national dance magazines, I ponder the question,”What makes a  choreographer or his/her style artistically valid?”.

Before, many dancers studied under one company for many years to gain validation. This situation being similar to a master and an apprentice.  Is that valid?

Another approach would be a dancer who dances with several dance companies and decides through tenure that he/she wants to choreograph. Is that valid?

An yet, a young choreographer can create a 5 min ( more or less) “routine” for a major recoding artist and be thrown in to the professional world of choreography with no years of servitude. Isn’t that sad?

This provokes me to say that in the 21st Century there is no rules to the game.

Dance companies are folding along side music, art and theatre. What does America want in the dawn of a new  decade? It would be nice to know don’t you think lol.

But seriously… as an emerging artist and choreographer during these harsh times can also be a blessing. One must learn to be creative on a dime yet economically savvy and remember that their ” audience” makes up their “community at large” not their “cash cow”.

I struggle at first about who I was as choreographer. What do I like? Who are my inspirations? Are you suppose to fit in? Who will mentor you? Are you suppose to have one? Is their a right or wrong way to go about creating and presenting your work?

Now mind you I do not have the answer to all these question fully, but one thing I have come to know is that in the end its about the work. The work…

That’s the beautiful thing about the Arts that makes it different than anything else in the world. It have no fix way of existing. One can change form, orientation,style, process forever and it will be okay. This scared the heck out of me in my early years of training , but now its making more sense to me.

I love the ballet, modern styles of old, jazz, hip hop and narratives. There is nothing wrong with that. But I enjoy these forms on a polished body and most times that will be accomplished through a ballet dancers body.  I have begun to not look for validation from other on my work. If you create a masterpiece with all your soul someone will stand up and recognize.  I am a contemporary choreographer in love with the ballet form just like Kylian, Bigonzetti and Bourne.  There is room for me and I will claim it!

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I receive my second Small Project Grant for Marketing from the city. I am very fortunate to be blessed with that funding, for it will go towards me furthering my vision for a better dance community for classically and contemporary trained minority and progressive artists.

This spring season is going to be a great one and I will work even harder ( I know right, you would think I’m working hard now lol).

Keep an eye on me. There was a was a 45% increase in applications for the funding and the City only funded 14 artists. Thank you DC Commission on the Arts and Humanities for your support and  assisting with my vision. Thank you God for anointing me with your love.

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